EXHIBITION  OF  THE  PAINTINGS 

LEFT  BY 

THE  LATE  GEORGE  INNESS 

anxa 
88-B 
7698 

HELD  BY  ARRANGEMENT  BETWEEN 
THE  AMERICAN  FINE  ARTS  SO- 
CIETY AND  THE  EXECUTORS  OF 
THE   INNESS  ESTATE 


DECEMBER  Tj ,  \$94 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/exhibitionofpainOOinne 


BORN 
IN 

NEWBURGH,  N 
1825. 

DIED  AT  THE 
BRIDGE  OF  ALLAN, 
SCOTLAND 


:  GEORGE  INNESS 


Resolved— 

"That  the  President  be  empowered  to  appoint  a  prelimi- 
nary Committee  of  Five  to  confer  with  the  executors  of  the 
Mnness'  Estate  with  reference  to  holding  an  Exhibition  in  the 
galleries  of  the  American  Fine  Arts  Society  of  the  works  left 
by  Mr.  George  Inness." 

The  following  Committee  was  appointed  : 

Howard  Russell  Butler, 
Samuel  Isham,  Thos.  B.  Clarke, 

Will  H.  Low,  Charles  R.  Lamb. 

"ExracJ  from  the  minutes  of  the  November  meeting  of 
the  Hoard  of  Trustees  of  the  Fine  Arts  Society ,"  U^pv.  6th, 
1894. 


4 


EXHIBITION  OF  THE  WORKS  OF 
GEORGE  INNESS. 


Dear  Sir  : 

You  are  invited,  as  one  of  an  Honorary  Committee,  to  be 
present  at  the  memorial  exercises  on  the  opening  of  an  exhibition 
of  the  works  of  George  Inness,  in  the  Fine  Arts  Building,  2 1 5 
West  Fifty-seventh  Street,  on  the  evening  of  December  27th. 

The  sudden  death  of  Mr.  Inness  last  summer  removed  from 
among  us  one  of  our  foremost  painters,  and  terminated  a  life 
devoted  to  art  with  a  rare  singleness.  His  talent  was  early  and 
\^  amply  recognized  by  the  artists  and  a  certain  body  of  art  lovers 
in  America,  and  their  high  esteem  was  shared  by  tbe  foreign 
painters  who  visited  this  country,  and  thus  had  an  opportunity 
of  seeing  his  work.  With  the  greater  public,  less  interested  and 
slower  to  acknowledge  native  talent,  his  reputation  has  grown 
more  slowly  ;  each  year  has  widened  and  deepened  it,  but  it  has 
not  yet  reached  the  full  measure  of  his  worth.  His  life  was 
centered  in  his  work,  removed  from  all  self-advertisement,  and 
with  no  effort  to  obtain  those  medals  and  diplomas  which  are 
commonly  used  as  a  sort  or  measuring  rod  to  gauge  artistic 
position.  His  work  was  without  aggressiveness  or  eccentricity 
in  subject  or  treatment.  American  by  birth  and  training,  he 
painted  the  American  landscape  with  sincerity  and  sympathy 
and  with  a  technique  which,  throughout  all  its  developments, 
owed  singularly  little  either  to  the  foreign  schools  of  the  present 
or  the  great  landscapists  of  the  past,  but  the  oftener  his  work  is 
^T^seen,  the  deeper  becomes  its  charm  and  the  firmer  our  convic- 

5 


tion  that  we  have  in  him  a  master  not  provincial,  but  national, 
and  worthy  to  be  ranked  with  the  great  Frenchmen,  long  his 
contemporaries. 

In  attempting  to  honor  his  memory,  the  artists  have  felt  that 
the  homage  should  not  come  from  them  alone,  but  from  all  who 
have  the  progress  of  American  art  at  heart. 

The  exhibition  will  consist  of  the  works  left  by  Mr.  Inness, 
numbering  nearly  two  hundred  and  fifty,  and  which  have  not 
before  been  publicly  exhibited.  Mr.  Parke  Godwin  has  kindly 
consented  to  deliver  an  address.  It  is  hoped  that  you  will  be 
able  to  be  present  and  will  allow  your  name  to  be  used  as  one 
of  the  Honorary  Committee. 

Yours  respectfully, 

Samuel  Isham, 
Thomas  B.  Clarke, 
Howard  Russell  Butler, 
Will  H.  Low, 
Charles  R.  Lamb, 

'Preliminary  Committee. 

New  York,  December  6th,  1894. 
R.  S.  V.  P. 


HONORARY  COMMITTEE. 


Henry 
Edward  D.  Adams. 
W.  Loring  Andrews. 
John  D.  Archbold. 
Samuel  P.  Avery. 
Chas.  B.  Alexander. 
George  F.  Baker. 
Edwin  H.  Blashfield. 
Cornelius  N.  Bliss. 
Frank  H.  Bosworth. 
Martin  Brimmer. 
John  Crosby  Brown. 
E.  L.  Burlingame. 
D.  H.  Burnham. 
Wm.  Allen  Butler  Jr. 
Henry  Le  G.  Cannon. 
Andrew  Carnegie. 
John  A.  Chanler. 
C.  T.  Cook. 
Clarence  Cook. 
H.  H.  Cook. 
Fred.  Crowninshield. 
Charles  B.  Curtis. 
W.  Bayard  Cutting. 
Charles  A.  Dana, 
{ulien  T.  Davies. 


G.  Marquand,  chairman. 
W.  B.  Dickerman.    Cyrus  J.  Lawrence. 


A.  W.  Drake. 
Oliver  H.  Durrell. 
Wm.  T.  Evans. 
H.  C.  Fahnestock. 
Wm.  H.  Fuller. 
James  A.  Garland. 
Theo.  K.  Gibbs. 


Seth  Low. 
Gen.  Loring. 
Howard  Mansfield. 
Montagu  Marks. 
J.  Pierpont  Morgan. 
Bruce  Price. 
Alfred  E.  M.  Purdy. 


Richard  W.  Gilder.  John  D.  Rockefeller. 

Parke  Godwin.  J.  Hampden  Robb. 

H.J.  Hardenbergh.  W.  C.  Schermerhorn. 

J.  Henry  Harper.  Montg'y  Schuyler. 

Wm.  F.  Havemeyer.  Jacob  H.  Schiff. 

Hiram  Hitchcock.  Charles  Scribner. 

Richard  M.  Hunt.  Geo.  Wm.  Sheldon. 

Daniel  Huntington.  Wm.  D.  Sloane. 

Robert  Hoe.  Russell  Sturgis. 

A.  Augustus  Healy.  Halsey  M.  Ives. 

John  A.  King.  Chas.  H.  Ludington. 

James  S.  Inglis.  George  Shea. 


Brayton  Ives. 
A.  D.  Juilliard. 
Morris  K.  Jesup. 


Charles  L.  Tiffany. 
Cornelius  Vanderbilt. 
Geo.  W.  Vanderbilt. 


Robert  U.  Johnson.  J.  Q^A.  Ward. 
Charles  Lanier.         Stanford  White. 


HONORARARY  COMMITTEE — Continued. 

COUNCIL  NATIONAL  ACADEMY  OF  DESIGN. 

Thomas  W.  Wood.  George  H.  Smillie.  H.  Bolton  Jones. 
H.  W.  Robbins.  James  D.  Smillie.  Thomas  Moran. 
J.  C  Nicoll.  Edwin  H.  Blashfield.  James  M.  Hart. 

Olin  L.  Warner.  Walter  Shirlow. 


BOARD  OF  CONTROL,  SOCIETY  OF  AMERICAN  ARTISTS. 

Wm.  M.  Chase.       Kenyon  Cox.  Samuel  Isham. 

John  La  Farge.  Herbert  Adams. 


J.  G.  Brown,     .     .      President  Water  Color  Society. 
Childe  Hassam,    .     .    President  New  York  Water  Color  Club. 
George  B.  Post,  .    .     President  Architectural  League  of  N.  Y. 
Howard  Russell  Butler,  President  American  Fine  Arts  Society. 
G.  W.  Breck,      .     .    President  Art  Students'  League  of  N.  Y. 


COMMITTEE  OF  ARRANGEMENTS. 

Howard  Russell  Butler,  chairman. 
Horace  Bradley.        Wm.  Bailey  Faxon.  Charles  R.  Lamb. 
Thomas  B.  Clarke.    George  Inness,  Jr.     Will  H.  Low. 
Reginald  C.  Coxe.     Samuel  Isham.  Ehrick  K.  Rossiter, 

Joe  Evans.  Francis  C.  Jones.       Louis  C.  Tiffany. 

Edward  H.  Kendall. 

8 


GEORGE  INNESS. 
A  Portrait  Bust.    By  J.  Scott  Hartley. 


IN  MEMORIAM. 


11  George  Inness's  landscapes  are  ot  the  best  painted  in  our 
time  and  country,  in  many  instances  of  the  best  in  any  time 
and  country,  because  of  the  qualities  of  temperament  with 
which  the  artist  was  endowed;  and  as  it  is  these  qualities  o^ 
temperament,  revealed  in  the  work,  which  mark  the  produc- 
tions of  all  great  artists,  and  set  them  apart  from  the  common- 
place, the  mediocre  and  the  merely  clever,  it  is  proper  to  inquire, 
with  a  view  of  obtaining  so  much  of  an  insight  as  may  be 
possible  into  the  make-up  of  what  we  call  genius.  What  were 
these  innate  qualities,  the  sources  whence  sprung  so  much  that 
was  new  and  fine  and  powerful  and  grand?" 

******* 

"  Undoubtedly  such  an  inquiry  involves  something  of  a  study, 
not  only  of  Inness's  own  characteristics  as  an  artist,  but  also  of 
the  universal  attributes  of  the  artistic  temperament.  The  great 
human  reservoirs  from  which  the  world  draws  its  masterpieces 
of  art  as  thoughtlessly  as  it  draws  a  cup  of  water  from  a  faucet, 
are  fed  by  many  subterranean  springs,  springs  which  flow  spon- 
taneously, freely,  irresistibly,  always  giving,  joyous  to  be 
giving,  without  price,  but  not  without  terrible  cost  to  the  giver. 
These  springs  are  the  vital  elements  of  human  heart  and  brain, 

IO 


Copyright,  1882,  by  The  Century  Co. 


UNDER  THE  GREENWOOD. 


transmuted  into  material  forms  and  hues  of  imperishable  beauty 
by  the  miracle  of  creative  passion." 

*  -x-  *  *  *  *  * 

"  The  mainspring  ct  a  great  art  is  the  master-passion  of  love, 
the  power  of  exaltation,  the  susceptibility  to  a  great  and  up- 
lifting emotion,  a  divine  flight  of  the  soul.  To  be  a  landscape 
painter  of  the  George  Inness  stamp,  means  the  possession  of  a 
sensitiveness  almost  morbid,  of  a  power  of  vision  extra-natural, 
of  a  susceptibility  to  certain  phases  of  the  eaith's  beauty  so  keen 
as  to  nearly  elevate  that  beauty  to  a  celestial  plane;  it  means 
that  seeing  is  a  pleasure  so  rapturous  that  it  borders  upon  pain; 
it  means  to  be  possessed  by  a  ruling  passion  that  leaves  no  room 
for  any  other  interest,  pursuit  or  theme  under  the  sun;  it  means 
that  sickness,  affliction,  poverty,  hardships,  reverses,  disappoint- 
ments, are  nothing  weighed  in  the  balance  against  art ;  it  means 
the  daily  possibilities  of  the  pageant  of  sunrise,  of  high  noon, 
of  sunset,  of  evening,  glorious  beyond  all  description,  filling  the 
heart,  filling  the  cup  of  life  to  overflowing,  leaving  only  one 
supreme  desire,  to  paint  it  all,  as  it  is,  to  paint  it,  and  then  die." 
******* 

"It  is  pleasant  to  reflect  that  in  Inness's  case  fame  was  less 
tardy  than  in  so  many  instances,  such  as  those  of  Millet,  Corot, 
and  other  great  painters  of  this  century,  and  that  his  later  years 
have  been  made  smooth  and  serene  by  the  recognition  and  en- 
couragement which  are  so  dear  to  the  heart  of  every  artist. 
For  the  last  ten  or  twelve  years  it  has  been  generally  agreed  that 
no  living  landscape  painter  on  either  side  of  the  Atlantic  excelled 


George  Inness,  and  it  is  the  judgment  of  many  competent  critics 
that  he  leaves  no  peer.  Probably  there  is  at  least  no  landscape 
painter  now  living  whose  works,  if  brought  together,  would 
stand  the  test  of  comparison  with  a  complete  collection  of 
Inness's  pictures — none  who  would  equal  him  in  the  impression 
he  gives  of  abounding  and  intense  vitality.  There  is  in  all  his 
representative  paintings  a  rich,  full,  pulsing  life,  which  testifies 
to  his  wonderful  power  of  infusing  his  own  exuberant  spirit  into 
the  inanimate  canvas,  and  making  it  breathe  the  breath  of 
nature.  And  so  in  an  exceptionally  emphatic  sense  his  works 
live  after  him.  So  long  as  they  endure  an  Inness  means,  not  a 
dead  copy  of  nature,  but  a  living  embodiment,  in  which  the  sun 
shines  with  a  true  and  grateful  warmth,  the  breeze  as  truly 
whispers  among  the  leaves  and  herbage,  the  clouds  float  buoy- 
antly aloft,  or  lower  over  the  earth  with  the  grim  menace  of 
approaching  storm,  and  all  is  movement,  animation  and  life." 

{Boston  Transcript,  Aug.  6,  iSqj.) 

11  George  Inness,  the  great  American  painter,  whose  death  in 
Scotland  is  just  announced,  had  the  rare  gift  of  putting  his  own 
subjective  appreciation  into  the  landscapes  which  he  placed  upon 
canvas.  He  was  no  imitator,  but  his  method  was  the  same  as 
that  of  Corot.  A  French  critic,  pointing  to  a  fine  woodland 
sunset,  once  said:  '  How  glorious  that  would  be  if  only  Corot 
had  painted  it.'  This  was  a  true  criticism.  Corot  would  have 
seen  what  other  people  could  not.  He  would  have  selected 
from  the  natural  effects.  He  would  have  brought  them  home 
to  whoever  looked  at  his  work.    This  is  the  rare  power  which 

InneSS  had."  (New  York  Evening  Sun,  Aug.  4,  r8Q4.) 


"The  dead  master,  whose  works  have  brought  him  fame 
abroad  as  well  as  at  home,  treated  nature  from  a  subjective 
standpoint,  and  painted  her  with  a  magic  brush  in  the  more 
picturesque  phases  of  her  milder  aspects,  as  well  as  in  those 
grander  moments  when  the  drama  of  the  elements  takes  the 
stage.  Mr.  Inness  was  a  man  of  most  impressive  originality, 
a  draughtsman  of  force,  and  a  colorist  of  great  richness  and 
brilliancy.  He  painted  atmosphere,  both  sunshine  and  storm, 
with  signal  success,  and  there  is  in  his  work  a  vigor  and  fiery 
manner  ot  handling  the  pigment  that  is  singularly  fascinating. 
The  artist,  at  the  time  of  painting,  knew  exactly  what  he 
wanted  to  do,  although  he  was  fond  of  working  on  canvases 
until  their  whole  aspect  was  changed." 

(New)  York  Herald,  Aug.  4,  i8q4.) 

"Mr.  Inness  was  born  May  ist,  1825,  in  Newburgh,  N.  Y. 
His  parents  subsequently  moved  to  Newark,  N.  J.,  where  he 
early  learned  the  rudiments  of  oil  painting.  When  sixteen,  he 
came  to  this  city  to  study  engraving,  but  ill  health  obliged  him 
to  return  to  Newark,  where  he  continued  to  paint.  When 
twenty  years  old  he  passed  a  month  in  the  studio  of  Regis 
Gignoux  here,  where  he  received  all  the  regular  instruction  he 
ever  had.  He  then  began  landscape  painting.  Subsequently 
he  made  two  visits  to  Europe,  and  lived  in  Florence  and  Rome 
some  time.  After  his  return  he  lived  for  several  years  near 
Boston,  where  some  of  his  best  pictures  were  painted.  In  1862 
he  made  his  home  at  Eagleswood,  near  Perth  Amboy,  N.  J., 
and  a  few  years  after  removed  to  New  York." 

(New  York  Tribune,  Aug.  4,  iSq4.) 
16 


ii  George  Inness  is  the  first  American  painter  whose  achieve- 
ments deserve  to  be  recognized  by  the  erection  of  a  public  mon- 
ument. He  was  an  epoch  maker.  When  Monet's  scientific 
dissections  of  color  and  light,  and  his  experiments  in  the  chem- 
istry of  beauty  are  forgotten,  the  works  of  Inness  will  still  charm 
and  uplift  the  world.  And  yet  the  narrow  leaders  of  American 
aestheticism  have  been  so  absorbed  in  watching  the  empirical 
feats  of  the  audacious  Frenchman,  that  they  almost  forgot  the 
great  color  poet  who  lived  among  them.  The  intelligent  con- 
noisseurs of  America  who  have  bought  his  canvases  will  doubt- 
less project  an  Inness  exhibition  in  New  York  this  coming 
winter.  Such  an  exhibition  was  held  not  many  years  ago  and 
was  too  filled  with  good  things  to  be  taken  between  meals.  Days 
could  have  been  spent — and  were — studying  the  reach  of  his 
mind,  and  with  him  the  fields  and  sky  that  he  loved.  It  would 
become  New  York  to  do  him  what  honor  it  can  in  again  gather- 
ing up  his  scattered  achievement." 

{Illustrated American,  New  York,  Ai/g.  25,  18Q4.) 

11  '  People  ask  me,'  said  Mr.  Inness,  '  why  I  keep  on,  old  as 
I  am,  for  I  am  seventy,  and  I  say  simply  because  of  a  principle 
beyond  me  that  goes  on  outside  of  me  in  developing  higher  and 
higher  forms  of  trust.'  To  maintain  one's  working  energies  at 
seventy  is  not  so  rare  as  to  be  surprising,  but  to  continue  at  that 
age  to  be  progressive  is  certainly  uncommon,  and  as  admirable 
as  it  is  unusual.  All  the  recent  biographers  and  eulogists  of 
Inness  seem  to  be  agreed  that  he  was  progressive  up  to  the  last 
day  he  lived.'' 

(Harper's  Weekly,  New  York,  SeJ>t.  /j,  1SQ4.) 
18 


"  Mr.  Inness  was  the  greatest  landscape  painter  that  America 
has  ever  produced,  and  when  the  extraordinary  fertility  of  Amer- 
ican talent  in  this  direction  is  considered,  that  means  a  great 
deal.  Indeed,  it  might  be  said  that  at  the  time  of  his  death  he 
was  the  leading  landscape  painter  of  the  world.  Certainly, 
there  are  none  among  either  the  Germans,  French  or  Dutch  who 
are  painting  landscapes  at  this  time  with  the  boldness,  freedom 
and  originality  that  are  traits  of  Mr.  Inness's  work.  In  his  art 
Mr.  Inness  never  grew  old.  His  latter  canvases  have  a  younger, 
more  energetic  look  than  his  pictures  painted  forty  years  ago." 
******* 

"  He  led  the  way  in  this  country  to  an  appreciation  of  the 
great  men  of  France.  His  own  style,  though  peculiarly  his 
own,  was  more  like  that  of  the  Barbizon  school  than  like  any- 
thing that  had  existed  in  our  country.  He  had  the  softness  of 
Corot,  the  depth  of  Dupre,  the  idyllic  quality  that  we  find  now 
and  then  in  Millet,  but  without  his  pessimism,  and  this  was 
united  to  a  color  sense  that  was  higher  than  either  of  these 
painters  possessed.  He  was  one  of  the  infrequent  men  who 
could  paint  sunsets.    His  color  is  what  he  will  live  by." 

*  *  *  *  *  *  * 

"  Nature  as  he  saw  it,  was  nature  as  a  child  of  five  years  sees 
it,  full  of  life  and  sunshine,  with  grass  like  emerald  and  mala- 
chite for  greenness,  and  flowers  everywhere,  their  tints  repeated 
among  the  clouds.  He  was  not  what  is  called  a  subject  painter. 
He  took  almost  anything  and  made  a  picture  of  it,  a  patch  of 
grass  with  a  tree  or  two,  a  forest  path,  a  hillside,  a  rod  of  river, 

19 


a  ledge  of  rocks,  yet  he  enjoyed  distance,  and  though  his  dis- 
tances are  simple  and  unencumbered  with  detail,  they  have  the 
carrying  force  that  gives  one  a  freer  breath  and  sense  of  ampli- 
tude as  he  looks  at  them." 

"It  is  satisfying  to  know  that  Mr.  lnness  was  appreciated  in 
other  lands  as  well  as  in  our  own,  and  many  of  his  pictures  are 
in  European  galleries.  That  more  of  them,  however,  are  in 
possession  of  his  countrymen  is  a  sign  that  the  appreciation  of 
art  in  this  country  is  higher  than  it  ever  was  before;  and  that  it 
may  inspire  successors  to  such  as  he  is  the  wish  and  the  hope 
of  all  who  have  the  good  of  art  and  the  country  at  heart." 

(Brooklyn  Eagle,  Aug,  4,  1SQ4.) 

"  Mr.  Inness  ranked  as  a  painter  with  Rousseau,  Corot,  Diaz 
and  Dupre.  His  death,  with  that  of  Wyant,  a  couple  of  years 
ago,  removes  from  the  scene  the  two  great  American  painters  of 
landscape.  Though  he  had  paid  several  visits  to  Europe,  Mr. 
Inness's  work  was  stamped  by  no  foreign  influence.  From  1871 
to  1875  he  was  in  Italy.  He  had  been  a  constant  exhibitor  at 
the  National  Academy  of  Design,  of  which  he  was  elected  an 
associate  in  1853,  and  a  member  in  1868.  Among  the  more 
important  of  his  works  are:  '  Light  Triumphant,'  'Valley  of  the 
Shadow  of  Death,'  'American  Sunset,'  at  Paris,  in  1807;  'Twi- 
light' ( 1 87 1 ) ;  '  Washingday,'  'Near  Perugia'  (1874);  '  Passing 
Clouds'  (1877);  'The  Afterglow,'  'Morning  Sun'  (1878);  'St. 
Peter's  Rome,'  'Coming  Storm'  (1880)." 

(News,  Newark,  N.J.,  A  tig.  4,  18Q4.) 
20 


"  Among  these  contemporaries  George  Inness  towered  as  a 
giant.  He  had  come  into  art  in  the  time  of  the  old  school, 
which  the  moderns  so  frankly  despise.  He,  too,  had  been 
subject  to  the  influence  of  the  great  Frenchmen  who  com- 
pletely revolutionized  the  art  of  their  century.  His  earlier 
works  exhibited  the  weaknesses  of  the  art,  which  was  popular 
in  this  country  when  his  art  life  began.  Later,  one  could  trace 
the  bearing  which  the  studies  involved  by  his  earlier  visits  to 
Europe  had  upon  his  mind,  and  which,  by  broadening  his 
views  and  emancipating  his  hand,  commenced  to  give  his 
genius  its  destined  direction.  He  had  set  forth  by  following  a 
road  beaten  by  others.  Now  he  struck  aside  and  beat  a  track 
for  himself.  The  spirit  which  had  warmed  his  youth  into 
studious  life,  now  flamed  up  into  the  fire  of  the  explorer  ;  pro- 
found thought,  the  vague,  half  formed  ideas,  which  are  the 
spurs  to  what  we  call  inspiration,  created  in  him  an  ambition  as 
restless  as  the  wind  and  the  tides,  and  at  the  same  juncture 
nerved  him,  heart  and  hand.  Yet,  with  all  his  confidence  in 
himself,  he  was  always  his  own  sternest  critic  :  a  man,  always 
in  action,  always  advancing,  and  never  satisfied  with  the 
manner  or  result  of  his  improvement,  grows  old  only  in  years." 

-x-  -x-  *  *  -x-  -x- 

''The  true  purpose  of  the  painter,  'according  to  Inness,'  is 
simply  to  reproduce  in  other  minds  the  impression  which  a  scene 
has  made  upon  him.  A  work  of  art  does  not  appeal  to  the 
moral  sense.  Its  aim  is  not  to  instruct,  not  to  edify,  but  to 
awake  its  emotion.    This  emotion  may  be  one  of  love,  of  pity, 

21 


of  veneration,  or  hate,  of  pleasure,  or  of  pain;  but  it  must  be  a 
single  emotion  which  it  inspires.  Its  real  greatness  consists  in 
the  quality  and  the  force  of  this  emotion.  Details  in  the  picture 
must  be  elaborated  only  enough  fully  to  reproduce  the  impression 
which  the  artist  wishes  to  reproduce.  When  more  than  this  is 
done,  the  impression  is  weakened  or  lost,  and  we  see  simply  an 
array  of  external  things,  which  may  be  very  cleverly  painted  and 
may  look  very  real,  but  which  do  rot  make  an  artistic  painting. 
The  effort  and  the  difficulty  ot  an  artist  are  to  combine  the  two, 
namely,  to  make  the  thought  clear  and  preserve  the  unity  of 
impression." 

(The  Collector^  New  York,  October,  18Q4.) 

"Mr.  Inness  was  the  foremost  American  landscape  painter, 
and  one  of  the  most  able  and  individual  of  contemporary  land- 
scapists.  He  takes  rank  with  such  masters  as  the  men  who  have 
made  the  Barbizon  school  the  most  brilliant  phase  of  Frerch 
art,  Corot,  Rousseau  and  Dupre.  While  his  technique  was 
faultless,  his  drawing  forcible,  his  coloring  brilliant,  his  fame 
rested  upon  the  subjective  quality  of  his  art.  He  loved  nature, 
and  sympathized  with  her  in  her  moods.  He  transferred  these 
to  the  canvas  with  a  poetic  touch  which  almost  idealized  the 
scenes  he  found  so  dear  to  him.  He  painted  atmosphere  with 
remarkable  success.  There  was  no  problem  too  difficult  or  too 
complicated  for  him  to  attempt.  Whether  the  phase  was  that 
of  daytime  or  dark,  sunlight  or  moonlight,  the  calm  of  noon, 
the  haze  of  daybreak,  or  the  glow  of  sunset,  it  stood  revealed 
and  expressed  in  supreme  truth  and  beauty." 

(New  York  World,  Aug.  j,  1SQ4.) 

22 


"  The  beneficent  influence  of  Inness'  passion  for  great  truths 
has  touched  all  who  have  seen  his  work,  and  its  lessons  have 
affected  our  younger  men  to  a  degiee.  We  see  in  the  work  of 
Inness  all  the  vital  principles  revealed  in  nature,  and  if  his  can- 
vases were  not  technical  wonders  of  execution  and  brush  work 
it  may  be  said  that,  although  technique  is  a  fine  thing,  nature 
herself  has  none  of  it.  Viewed  in  this  light,  Inness  was  not  only  a 
great  artist  in  landscape,  but  he  was  unique  in  having  preserved 
his  individuality  and  refinement  in  a  country  where  the  artist 
still  feels  uneasy  and  is  not  loved  as  abroad.  Many  may 
approach  him  in  a  future  time,  but  few  could  hope  to  equal,  and 
none  exceed,  his  greatness  and  simplicity." 

(A  rt  Interchange,  Sept.  f,  $894.) 

"While  it  is  doubtless  true  that  we  have  not  yet  a  distinctive 
national  art — that  is,  an  art  which  is  spontaneous  and  indigenous 
— it  is  also  true  that  we  have  among  our  artists  several  who, 
though  not  without  having  profited  by  the  world's  best  art,  are 
American  in  the  fact  that  their  art  is  peculiarly  their  own,  and 
uninfluenced  by  special  schools  and  tads  of  Europe.'' 

#  *  *  *  *  * 

"The  man  among  American  painters  who  is  pre-en  inent  in 
this  respect  is  George  Innes.  His  art  is  entirely  his  own,  and 
does  not  contain  a  hint  of  the  succession  of  landscape  painters. 
It  is  reminiscent  of  nothing  but  nature,  of  which  it  represents 
every  mood,  every  season  and  every  time  of  day  So  rich  is  his 
treasury  of  Nature's  secrets,  so  poetic  and  feitile  his  brain,  so 
great  his  power  of  execution,  that  although  his  output  is  probably 

24 


as  large  as  that  of  any  other  living  artist,  he  never  repeats  him- 
self, never  paints  twice  just  the  same  mood  of  nature,  the  same 
atmosphere  or  envelope.  Surely,  if  Alfred  Stevens  is  correct, 
that  'art  is  nature  seen  through  the  prism  of  emotion,'  then  In- 
ness  can  properly  claim  to  be  ranked  among  the  world's  great 
artists.  For  each  of  his  canvases  gives  out  some  new  thought, 
some  freshly  distilled  essence,  some  transmutation  of  the  nature 
of  common  eyesight  into  the  refined,  poetic  and  prismatic. 

11  George  Innes  was  born  in  Newburgh.  N.  Y.,  in  1825.  He 
was  elected  an  Associate  of  the  National  Academy  of  Design  in 
1853,  and  a  full  Academician  in  1868. 

"  Mr.  Inness's  art,  as  was  to  be  expected  from  a  man  of  his 
originality,  has  gone  through  many  phases,  and  there  is  a  wide 
difference  between  his  early  work  and  that  of  the  last  few  years.'* 

(//*.  Lewis  Fraser,  in  Open  Letters,  The  Century,  April,  iSgj.) 

"He  learned  much,  by  study  abroad,  but  it  was  not  by  tak- 
ing '  instruction'  in  the  ordinary  way.  At  one  time  he  lived 
several  years  at  Florence,  and  he  visited  Europe  again  and 
again.  But  he  seems  to  have  been  more  or  less  indifferent  to 
means  provided  he  attained  his  end  of  expressing  truly  and 
elegantly  what  he  conceived.  He  painted  very  broadly,  but 
not  with  disregard  to  drawing.  It  is  said  that  he  will  be  re- 
membered chiefly  as  a  colorist,  but  it  would  perhaps  be  more 
accurate  to  say  that  he  will  be  remembered  as  a  man  of  genius 
for  landscape  painting,  with  a  fine  instinct  for  color.  That  is, 
the  intellectual  quality  is  at  least  as  prominent  as  the  excellence 
of  color." 

{CoKrant,  Hartford,  Conn.,  Aug.  6,  18Q4.) 

26 


"  If  a  painter  could  unite  Meissonier's  careful  reproduction  of 
details  with  Corot's  inspirational  power,  he  would  be  the  very 
god  of  art." — George  Inness. 

{Home  Journal,  New  York,  Oct.  10,  i8q4.) 

11  Inness  has  told  us  that  'we  must  work  our  way  to  Para- 
dise, the  end  of  culture.'  Has  he  not  prepared  a  path  which  we 
must  tread  ?  The  Art  House  examples,  as,  indeed,  are  all  that 
he  has  ever  painted,  lead  us  to  the  region  of  truth,  the  land  of 
fulfillment  ;  the  container  is  here  circumvented  ;  his  art  must  go 
on  forever." 

(Boston  Post,  October  28,  18Q4.) 

11  Even  without  his  wonderful  art,  he  would  have  been  a  man 
of  mark,  for  his  insight  into  things  was  deeper  than  common  ; 
his  conversation  was  brilliant,  his  wit  was  keen,  and  his  ready 
pen  gave  frequent  evidence  of  the  ease  with  which  he  clothed 
his  living  thoughts  in  terse  and  vigorous  English. 

******* 

"  He  has  left  America  a  great  inheritance.  His  works,  his 
name,  his  fame — these  will  continue  to  shed  lustre  on  her 
through  centuries  to  come.  Is  she  grateful  ?  Does  she  realize 
the  value  of  this  rich  legacy  that  has  fallen  to  her  ?  Time  will 
tell  ;  the  sooner,  no  doubt,  if  the  American  people  pay  heed  to 
the  beautiful  exhortation  of  the  painter  himself  when  he  said  : 
'  Let  us  believe  in  art,  not  as  something  to  gratify  curiosity  or 
suit  commercial  ends,  but  as  something  to  be  loved  and  cher- 
ished, because  it  is  the  handmaid  of  the  spiritual  life  of  the  age." 

(Once  a  Week,  New  York,  September  1,  18Q4.) 
27 


"In  these  pages  last  April  appeared  a  critical  comment  on 
Inness's  work,  which,  coming  to  the  artist's  knowledge,  gave 
him  much  pleasure  and  brought  forth  an  expression  of  satis- 
faction that  his  work  and  striving  met  with  such  appreciation, 
for,  as  he  said  to  the  writer,  he  '  had  worked  and  waited — 
worked  hard  and  waited  hard,'  and  it  was  a  joy  to  him  to  feel 
that  his  art  might  be  regarded  as  an  inheritance  for  future  gene- 
rations." 

(Art  Interchange,  New  York,  Oct.  /,  1SQ4.) 

"  There  were  two  periods  in  Mr.  Inness's  art  career.  In  the 
first  he  exhibited  close  attention  to  finish  and  detail,  and  in  the 
second  a  larger  appreciation  of  the  truths  and  charms  of  nature, 
with  less  anxiety  about  technicalities.  The  quality  of  his  work 
was  varied;  at  his  best,  he  represented  American  scenery  with 
exquisite  skill  and  feeling  and  a  wonderful  appreciation  of  atmos- 
pheric effects." 

(New  York  Evening  Post,  Aug.  4, 18Q4.) 


These  quotations  have  been  chosen  from  the  many  published 
by  the  press  of  the  United  States. 

Possibly  at  no  time  has  there  been,  in  this  country  at  least,  so 
universal  an  expression  of  sorrow  at  the  loss  to  art  caused  by 
the  death  of  an  artist,  and  so  unanimous  an  approval  of  his  art 
work,  as  in  the  case  of  George  Inness. 

CATALOGUE  COMMITTEE. 


28 


LIST  OF  PAINTINGS. 

No.  i 

PERUGIA,  ITALY. 

(18^x11) 

No.  2 

POMPTON,  NEW  JERSEY. 

(18x1214) 

No.  3 

PATH  THROUGH  THE  PINES. 

(32x42) 

No.  4 

ROSY  MORNING. 

(30x45) 

No.  5 

SUNLIT  VALLEY. 

(24x36) 

No.  6 

SUNSET  OVER  THE  HILL. 

(3ox45) 

No.  7 

SACRED  GROVE,  near  Rome,  Italy. 

(20x30) 

No.  8 

EARLY  MORNING,  Montclair,  New  jerse 

(30x45) 

No.  9 

CALIFORNIA. 

(47x50) 

No.  10 

SUNDOWN. 

(42x70) 

No.  1 1 

THE  VALLEY  ON  A  GLOOMY  DAY. 

(30x45) 

29 


No.   I  2 

MOONLIGHT,  Tarpon  Springs,  Florida. 

(3°x45) 

No.  13 

POOL  IN  THE  WOODS. 

(22x27) 

No.  14 

POMPTON  JUNCTION,  NEW  JERSEY. 

(12x18) 

No.  1 5 

AFTER  SUNDOWN,  Montclair,  New  Jersey. 

(3ox45) 

No.  16 

MOON  RISE,  Alexandria  Bay. 

(30x45) 

No.  1 7 

SUMMER  EVENING,  Montclair,  New  Jersey. 

(30x45) 

No.  18 

EARLY  MOONRISE,  Florida. 

(32x42) 

No.  19 

AFTERGLOW. 

(25x30) 

No.  20 

A  BREEZY  DAY. 

(22x27) 

No.  21 

THE  LAST  GLOW,  Montclair,  New  Jersey. 

(30x45) 

No.  22 

NOVEMBER,  Montclair,  New  Jersey. 

(30x45) 

No.  23 

PICNIC  IN  THE  WOODS,  Montclair,  New 

(30x45) 

30 


No.  24 

SUNRISE. 

(30x45) 

No.  25 

LOOKING  OVER  THE  VALLEY. 

(30x45) 

No.  26 

HOMELESS. 

(30x45) 

No.  27 

SPRINGTIME. 

(30x45) 

No.  28 

TWILIGHT. 

(30x45) 

No.  29 

AUTUMN  AFTERNOON,  The  last  picture  painted  in 
Montclair,  N.  J.  (3ox45) 

No.  30 

THE  LONELY  PINE. 

(30x45) 

No.  31 

MOONLIGHT  ON  PASSAMAQUADDY  BAY. 

(30x45) 

No.  32 

ON  THE  EDGE  OF  THE  WOOD. 

(30x45) 

No.  33 

ETRETAT,  Normandie,  France. 

(30x45) 

No.  34 

THE  SUN'S  LAST  REFLECTION. 

(30x45) 

No.  35 

THE  LONELY  FARM,  Nantucket. 

(30x45) 


No.  30  1894. 
EARLY  AUTUMN,  Montclair,  New  Jersey. . 

(30x45) 

No.  37  1864 
LEEDS,  NEW  YORK. 

No.  38  1893 
EVENTIDE,  Tarpon  Springs,  Florida. 

(30x45) 

No.  39  1893. 

LATE  SEPTEMBER,  Montclair,  New  Jersey.  . 
(30x45) 

No.  40  1886: 
MIDSUMMER,  Montclair,  New  Jersey. 

(35x45) 

No.  41  1893. 
THE  OLD  FARM. 

(3Q%x5o%)  •    -  - 

No.  42  1893 

HAZY  MORNING,  Montclair,  New  Jersey. 

(30x50^) 

No.  43  1890. 

FROM  THE  HILLSIDE. 

(20x29) 

No.  44  1894. 
THE  BEECHES. 

(32x42) 

No.  4=;  1893 


ST.  ANDREWS,  New  Brunswick. 

(32x42) 

No.  40  l&9} 
ACROSS  THE  MEADOWS,  Montclair,  New  Jersey. 

(32x42) 

No.  47  1889 

SUNSET,  Montclair,  New  Jersey. 

(22x36) 


No.  48  189! 

THE  SHOWER,  Montclair,  New  Jersey. 

(32x42) 

No.  49  1888 

IN  THE  WOODS,  Montclair,  New  Jersey. 

(30x40) 

No.  50  1880 
THE  VILLAGE. 

(30x40) 

No.  51  1883 

SCENE  ON  THE  PENNSYLVANIA  RAIL  ROAD. 

(27^x41%) 

No.  52  1889 

SUNSET— MILKING  TIME,  Montclair,  New  Jersey. 

(22x36) 

No.  53  1884 

HARVEST,  Montclair,  New  Jersey. 

(2914x39) 

No.  54  1887 

VIEW  FROM  THE  HILL. 

(26x36) 

No.  55  1880 
THE  POND. 

(29x37^) 

No.  56  1884 
THE  PATH  TO  THE  RIVER,  Milton  on  the  Hudson. 

(31x37) 

No.  57  1882 

THE  RETURN  TO  THE  FARM,  Milton  on  the  Hudson. 

(26J4X38J4) 

No.  58  1889 

A  SNOWY  HAYSTACK. 

(24x38) 

No.  59  1874 

ETRETAT,  Normandy,  France. 

(25x38) 

33^ 


No.  60  ,889 

A  MONTCLAIR  WINTER. 

(22x36) 

No.  61  ,892 
AN  AUTUMN  DAY. 

(24x36) 

No.  62  1884 

A  WINTER  MORNING,  Montclair,  New  Jersey. 

(22x36) 

No.  63 

THE  EDGE  OF  THE  MEADOW. 

(1 8^x2414) 

No.  64  1892 

THE  OLD  OAK,  Montclair,  New  Jersey. 

(24x34) 

No.  65  1S81 

THE  OLD  ORCHARD,  Milton. 

(22x34) 

No.  66  1880 

THE  PASTURE,  Milton. 

(22x34) 

No.  67  1880 

THE  ROAD  TO  THE  VILLAGE,  Milton. 

(22x34) 

No.  68  1880 

ON  THE  ROAD  TO  THE  RIVER,  Milton. 

(22x34) 

No.  69  1883 

IN  MONTCLAIR,  NEW  JERSEY. 

(10x18) 

No.  70  1881 

IN  THE  WOODS,  Milton. 

(20x30) 

No.  71  1882 

NEAR  MY  STUDIO,  Milton. 

(20x30) 

34 


No.  72  1880 
THE  LANE,  Milton. 

(18^x30) 

No.  73  1886 

AFTER  THE  SHOWER. 

(20x30) 

No.  74  1891 
EARLY  MORNING. 

(22^x29) 

No.  75  1878 

HILLSIDE  AT  MILTON. 

(22x27) 

No.  76  1882 

OLD  MILL,  Marlborough  on  the  Hudson. 

(22^x28^) 

No.  77 


No.  78  1890 
THE  BROOK. 

(22x27) 

No.  79  1800 
MOONLIGHT. 

(22x27) 

No.  80  1888 

A  GLIMPSE  OF  THE  LAKE. 

(22x27) 

No.  81  1878 

A  VIEW  IN  MONTCLAIR,  artist  in  foreground. 

(22x25) 

No.  82  1888 

A  VIEW  IN  THE  ADIRONDACKS. 

(22x27) 

No.  83  1893 
EARLY  MOONRISE. 

(24x36) 

No.  84  1891 
AFTERNOON. 

(24x36) 


No.  85  ,894 

GULF  OF  MEXICO,  Florida. 

(24x36) 

No.  86  1 86 1 

MEDFIELD,  Massachusetts. 

No.  87  ,894 
THE  GLOWING  SUN. 

(24x36) 

No.  88  1864 
LEEDS,  New  York. 

(9^x13) 

No.  89  1883 

AUTUMN,  Montclair,  New  Jersey. 

(25x30) 

No.  90  1890 
A  CLOUDY  DAY. 

(25x30) 

No.  91  1 89 1 

MOONRISE. 

(25x30) 

No.  92  •  1893 

ORANGE  ROAD,  Tarpon  Springs,  Florida. 

(25x30) 

No.  93  1890 

YOSEMITE  VALLEY,  California. 

(25x30) 

No.  94  1892 

VIEW  FROM  MY  STUDIO,  Tarpon  Springs,  Florida. 

(25x30) 

No.  95  1893 

THE  COMING  STORM. 

(25x30) 

No.  96  1893 

THE  ROAD,  Tarpon  Springs,  Florida. 

(25x30) 

36 


No.  97 

OLD  OAK,  Lyndhurst,  New  Forest,  England. 

(25x30) 

No.  98 

OFF  THE  COAST  OF  CORNWALL,  ENGLAND. 

(25x30) 

No.  99 

GLIMPSE  OF  THE  HUDSON,  near  Tarrytown. 

(25x30) 

No.  100 

OLD  ORCHARD,  Milton-on-the-Hndson. 

(20x30) 

No.  101 

THE  MEETING  AT  THE  BROOK,  Milton  on  the- 
Hudson.  (20x30) 

No.  102 

BACK  OF  MY  STUDIO,  Milton-on-Jthe- Hudson. 

(20x30) 

No.  103 

AFTER  THE  RAIN. 

(18x30) 

No.  104 

FROM  THE  SWANGUNK  MOUNTAINS. 

(20x30) 

No.  105 

OFF  PENZANCE,  Cornwall,  England. 

(20x30) 

No.  106 

APPLE  BLOSSOMS,  Spring  Time,  Montclair,  N.  j. 

(20x30) 

No.  107 

GOSSIP,  Milton. 

(20x30) 

No.  108 

SUNSET  AT  ETRETAT,  Normandy. 

(20x30) 

37 


No.  109  1890 

POOL  IN  THE  WOODS. 

(20x30) 

No.  110  1882 

THE  BROOK,  Montclair,  New  Jersey. 

(20x30) 

No.  111  1 892 

AUTUMN. 

(20x30) 

No.  112  1881 

IN  THE  ORCHARD,  Milton. 

(20x30) 

No.  113  1889 

GATHERING  WOOD,  Montclair,  New  Jersey. 

(20x30) 

No.  114  1884 

GOOCHLAND,  West  Virginia. 

(20x30) 

No.  115  1878 

THE  HUDSON  AT  MILTON. 

(20x30) 

No.  1 16  1891 
IN  THE  WOODS. 

(21x29) 

No.  1  1  7  1872 
LAKE  NAME,  ITALY. 

(18x26) 

No.  1 18  1874 

ERETAT,  NORMANDY. 

(18x26) 

No.  1 19  1872 
ALBANO,  ITALY. 

(18x26) 

No.  120  1872 

VIADUCT,  at  Laricha,  Italy. 

(18x26) 

3^ 


GLIMPSE  OF  THE  CAMPAGNA,  from  Albano, 
(18x26; 

No.  122 

FLORENCE,  ITALY. 

(18x26) 

No.  123 

ALBANO,  ITALY. 

(18x26) 

No.  124 

ETRETAT,  Normandy,  France. 

(18x26) 

No.  125 

ETRETAT,  Normandy,  France. 

(18x26) 

No.  126 

OLIVES,  Albano,  Italy. 

(18x26) 

No.  127 

LIGHT  HOUSE,  Nantucket. 

(18x26) 

No.  128 

DURHAM,  CONN. 

(18x26) 

No.  129 

THE  PASTURE,  Durham,  Conn. 

(18x26) 

No.  130 

POMPTON,  N.  J. 

(18X25M) 

No.  131 

THE  PEQUONIC  RIVER,  Pompton,  N.  j. 

(18X-25M) 

No.  132 

THE  PEQUONIC  RIVER,  Pompton,  N.  J. 

(18x25%) 

39 


No.  133 

BREAKING  THROUGH  THE  CLOUDS. 

(17x25^) 

No.  1  34 

SUMMER,  Milton. 

(14^x2034) 

No.  135 

THE  OLD  APPLE  TREE,  Montdair. 

(16x24) 

No.  136 

CATSKILL  CREEK. 

No.  137 

NIAGARA. 

(16x24) 

No.  138 

HASTINGS. 

No.  139 

ARTISTS'  BROOK,  North  Conway. 

(16x24) 

No.  140 

WINTER,  Montclair. 

(16x24) 

No.  141 

LATE  SUMMER,  Hastings. 

(16x24) 

No.  142 

MY  ORCHARD,  Montclair. 

(16x24) 

No.  143 

CATSKILL  COVE. 

(16x24) 

No.  144 

SUNBURST. 

(16x24) 
40 


No.  145 

MOONLIGHT. 

(16x24) 

No.  146 

POMPTON. 

(12x18) 

No.  147 

OLD  ELM,  at  Medfield,  Mass. 

(16x24) 

No.  148 

DURHAM,  CONN. 

(16x24) 

No.  149 

A  CLOUDY  DAY,  Milton. 

(18x24) 

No.  150 

KEENE  VALLEY,  Adirondacks. 

(18x24) 

No.  151 

TIVOLI,  ITALY. 

(21x25) 

No.  152 

WOOD  INTERIOR,  Keene  Valley,  O. 

(l7-MX24) 

No.  153 

POND  AT  MILTON  ON  THE  HUDSON. 

(14^x26) 

No.  154 

BY  THE  OLD  AQUEDUCT,  Campagna,  Italy. 
(17x24) 

No.  155 

SUNDOWN. 

(18^x24^) 

No.  156 

THE  SIDE  OF  THE  HILL,  Milton. 

(18^x24^) 


No.  157 

(14x16) 

No.  158 

ALEXANDRIA  BAY. 

(16x24) 

No.  159 

SUNSET  OVER  THE  HUDSON. 

(22x34) 

No.  160 

OUT  OF  MY  STUDIO  DOOR,  Montclair. 

(12x14) 

No.  161 

MONTE  LUCIA,  Perugia,  Italy. 

(13MX19M) 

No.  162 

HASTINGS,  NEW  YORK. 

(ii&xitM) 

No.  163 

LEEDS,  NEW  YORK. 

(12x18) 

No.  164 

(12x18) 

No.  165 

LOOKING  ACROSS  THE  HUDSON. 

(16x20) 

No.  166 

STORM  CLOUDS. 

No.  167 

HOME  OF  THE  HERON,  Tarpon  Springs,  Florida. 

(22x27) 

No.  168 

ETRETAT,  NORMANDY. 

(14x26) 

43 


No.  169  1877 
IN  THE  MEADOWS. 

(12^x18) 

No.  170  .  1866 

EAGLESWOOD,  NEW  JERSEY. 

(16x24) 

No.   171  1884 

GOOCHLAND,  WEST  VIRGINIA. 

(18x24)  • 

No.  172  1883 

A  GLIMPSE  THROUGH  THE  WOODS. 

(12x17^) 

No.  173  1868 
HASTINGS,  NEW  YORK. 

(i5;Mxi8^) 

No.  174  1864 
LEEDS,  NEW  YORK. 

(12x18) 

No.  175 

(I2MXI7^) 

No.  176  1870 
TIVOLI,  ITALY. 

(12x16) 

No.  177  1870 

CASCADE,  Tivoli,  Italy. 

(n^xi7M) 

No.  178  1876 
CLEAR  EVENING. 

(12x18) 

No.  179  1872 
ALBANO,  ITALY. 

(9^x13^) 

No.  180  1872 
ALBANO,  ITALY. 

(9^x13^) 
43 


No.  1 8 1 

DURHAM,  CONNECTICUT. 

No.  182 

PORTO  D  ASIO,  ITALY. 

(9^x13) 

No.  183 

IN  THE  MORNING. 

(9^x14) 

No.  184 

SPRING  BLOSSOMS,  Montclair,  New  J 

(30x45) 

No.  1 85 

GOING  FOR  THE  COWS. 

(22x27) 

No.  186 

SUNSET. 

(16x24) 

No.  187 

MILTON. 

(16x24) 

No.  188 

THE  POND  AT  SUNSET,  Milton. 

(16x24) 

No.  189 

THE  HERMIT. 

(12^x18) 

No.  190 

MOONLIGHT. 

(22x27) 

No.  191 

WOOD  INTERIOR,  Eagleswood,  N.  J. 

No.  192 

A  WINDY  DAY. 

(25^x38^) 
44 


No.  193  1874 

ETRETAT,  NORMANDY. 

(26x18) 

No.  194  i860 
IN  THE  CATSKILLS. 

(12x14) 

No.  195  1888 

BACK  OF  THE  OLD  BARN. 

(12x18) 

No.  196  1885 
NIAGARA. 

(16x24) 

No.  197  1887 
SIASCONSET. 

(18x26) 

No.  198  1884 

THE  AFTERNOON  DRIVE. 

(12x16) 

No.  199  1892 
AUTUMN. 

(25x30) 

No.  200  1883 

A  GLIMPSE  OF  THE  HUDSON,  Milton. 

(25x30) 

No.  201  1866 

THE  EDGE  OF  THE  WOOD. 

(16x24) 

No.  202  1873 
ETRETAT,  NORMANDY. 

(9%xi3%) 

No.  203  1893 

TARPON  SPRINGS,  FLORIDA. 

(30x45) 

No.  204  1887 
WOOD  INTERIOR. 

(19x1414) 
45 


No.  205 

SUNSET. 

(22x36) 

No.  206 

THE  GLEANERS. 

(26x36) 

No.  207 

ST.  ANDREWS,  N.  B. 

(32x42) 

No.  208 

THE  RED  OAKS. 

(36x54) 

No.  209 

THE  BROOK. 

(814x10^4) 

No.  210 

IN  THE  GREENWOOD. 

(18x12) 

No.  2  1  1 

IN  THE  GLOAMING. 

(27x22) 

No.  212 

POMPTON  RIVER. 

(10x14) 

No.  213 

POMPTON. 

(10x13) 

No.  214 

BARBARINI  VILLA,  ITALY. 

(914x13%) 

No.  215 

POMPTON— ON  THE  EDGE  OF  THE  WOOD. 

(9^x13^) 


No.  216 


PEQUONIC  RIVER,  Pompton. 

(11x13^) 

46 


No.  217 

KEENE  VALLEY,  Adirondacks. 

(iijfccixj*) 

No.  218 

NIAGARA  FALLS. 

(16x24) 

No.  219 

THE  OLD  STONE  WALL. 

(10x14) 

No.  220 

NORTH  CONWAY. 

(12x18) 

No.  221 

MILTON. 

(16x24) 

No.  222 

AUTUMN,  Montclair,  New  Jersey. 

(12x18) 

No.  223 

IN  THE  ORCHARD. 

(22x34) 

No.  224 

IN  THE  WOODS. 

(16x24) 

No.  225 

NANTUCKET. 

No.  226 

IN  THE  ORCHARD. 

(20x30) 

No.  227 

HILLSIDE. 

(20x30) 

No.  228 

AN  OLD  VETERAN. 

(27x27) 
47 


No.  229  1888 

LOOKING  OVER  THE  HUDSON  AT  MILTON. 

(27x22) 

No.  230 

THE  PASTURE. 

(16x24) 

No.  231 

LATE  SUNSET. 

(16x24) 

No.  232 

A  STORMY  DAY. 

(22J4X28J4) 

No.  233  1880 
ALEXANDRIA  BAY. 

(16x20) 

No.  234  1892 
THE  COMING  STORM. 

(5  ft.  X  IO  ft.) 

No.  235  1891 
NIAGARA  FALLS. 

No.  236 

SUNSET. 

No.  237 

AUTUMN. 

No.  238  1 86 1 

MEDFIELD,  MASSACHUSETTS. 

(10x13%) 

No.  239  1864 
LEEDS,  NEW  YORK. 

(9x13) 

No.  240  1877 
THE  POND. 

(10MX13M) 
48 


GETTY  CENTER  LIBRARY 

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